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1

KIERKEGAARD AND GADAMER: ON CONTEMPORANEITY

100%
Komel D.
Filozofia (Philosophy)
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2014
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vol. 69
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issue 5
434 – 442
EN
The article deals with Gadamer’s reception of Kierkegaard, especially in his fundamental work Truth and Method. It sheds light on his role in creating some of the basic concepts of philosophical hermeneutics. The purpose of the paper is neither to give a hermeneutic interpretation of Kierkegaard’s philosophy nor to discuss the reception of Kierkegaard’s philosophy within the so-called hermeneutic philosophy or hermeneutic phenomenology, taking into account, that the very position of hermeneutic phenomenology within contemporary philosophy still remains undecided. Even less determined is its disposition regarding the contemporaneity of philosophy.
2
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O Hermeneutycznej funkcji dystansu Paula Ricoeura w świetle pojęcia gry

100%
Krupecka I.
Filo-Sofija
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2004
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vol. 4
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issue 4
225-232
EN
Abstract In his essay The Hermeneutic Function of Distance Paul Ricoeur describes the fundamental concepts of theory of language and text. He criticizes some thesis of Hans Georg Gadamer, but also refers to the notion of “game”, which is essential to Gadamer’s philosophical hermeneutics. That gives a chance to interpret Ricoeur’s essay through category of “game” as a basis of human activity. The Hermeneutic Function of Distance has two sources: hermeneutics and structuralism, which is already visible in the nivel of words used by Ricoeur (understanding, disclosure of world, but on the other hand: structure or system). There we can find a possibility of use the notion of “game” in interpreting Ricoeur’s essay: the game is a combination of accident (every move in game) and necessity (rules, conventiones), of system and player’s free will. Ricoeur recognizes the distance, which is fundamental mark of the discourse, as the dialectics of event and meaning: the meaning actualizes itself in the event, and event becomes fill of meaning. In this way the language constitutes it’s reference to the world. Using the notion of “game”, as Gadamer did, one can say, that the world is disclosed through language in the area of self-presenting game. Moreover, being the medium of every experience and every understanding game makes possible to distinguish what is already known and what stays outside the game and needs to be understood. According to Ricoeur the same process appears in the creation and perception of literary works. Both author and lector are the players of this special game, which constitutes the basic relation, questioned by Derrida, between the sender and the receiver of text. At the same time, the literary work loses the reference of the first degree and profit by other reference – to Lebenswelt, the area of literary game. The game-text, through it’s self-presenting activity, attains to predominate over the consciousness of lector and makes possible to experience a text. The basic condition of this process is the distance between the real-self and the player’s-self, the fundamental distance of every communication.
3
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TEXTUAL HERMENEUTICS: A PATCHWORK OR A WHOLE WOVEN CLOAK? (Hermeneutyka tekstów: patchwork czy szata calodziana?)

100%
Piotrowska M.
Muzyka
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2007
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vol. 52
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issue 3(206)
123-136
EN
In spite of the title, this article is not devoted exclusively to the issue of either unity or dispersion of the achievements of the branch of hermeneutics called (as distinct from philosphical hermeneutics) textual hermeneutics. The extreme form of this unity (as well as continuity) is symbolised here by the 'whole woven cloak'; while the extreme form of non-coherence is referred to as a 'patchwork' with an irregular pattern (the authoress was inspired here by Gadamer's statement that 'the word 'text' really refers to a fabric'). Based on this distinction, the authoress presents a provisional outline of her main thesis: the theory of hermeneutics, with a tradition reaching back to the Stoics' reflections on Homer, represents a continuity, which has been becoming unbreakable since the nineteenth century, while the practice of hermeneutics, initially a regular patchwork (which since the days Schleiermacher has incorporated the psychological aspect, i.e., the personality of the author) shaped by canonical norms, has striven and strives towards freedom, resembling a 'crazy' patchwork, i.e., such in which the sewing on of indiviudal patches is the work of momentary inspiration. The article also emphasises a number of important elements in Gadamer's hermeneutical philosophy which are not sufficiently stressed today. These include the use of the ideas originating from ancient Greece, such as the role of dialogue in bringing about understanding (the influence of Gadamer's study of Plato over many years). The authoress also recalls the influence of Gadamer's thinking on the musicology of H.H. Eggeebrecht, and pays attention to Gadamer's hermeneutical praxis; his studies of the nineteenth- and twentieth-century poetry. These studies bring Gadamer (otherwise regarded as the creator of philosophical hermeneutics) into the hermeneutic of texts - in its modern version, only loosely connected with the canon.
4

Rzecz o „ważeniu obrazu”. Metafizyka w sztuce czasów „zwrotu ikonicznego” w kontekście tradycji

75%
Solewski R.
Kwartalnik Filozoficzny
|
2013
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vol. 41
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issue 1
191 - 211
EN
The article analyzes selected works of contemporary abstract, figurative, and immersive art, paintings and installations (e.g. Mark Grotjahn, David Ligare, James Turell), asking to what extent visual experience is completed by verbal interpretation. Observations allow us to suggest a modification of the radical phenomenological theses (Schopenhauer, Scheler) concerning the distinction between the metaphysics of art and the metaphysics present in verbal discourse. The idea of a metaphysical synthesis created thanks to the poetry of the image and the poetry of interpretation accepts the integrated beauty of an artwork presenting the world of ideas visually and in hermeneutic interpretation. The condition of the efficacy of such a synthesis is, however, respect to moral bienséance, enabling integration and founded metaphysically, as well as the understanding that images and pictures always look for the word proper to their beauty.
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